In Victorian times, England was famously dubbed the land without music - but one of the great musical discoveries of the early twentieth century was that England had a vital heritage of folk song and music which was easily good enough to stand comparison with those of other parts of Britain and overseas. Cecil Sharp, Ralph Vaughan Williams, Percy Grainger, and a number of other enthusiasts gathered a huge harvest of songs and tunes which we can study and enjoy at our leisure. But after over a century of collection and discussion, publication and performance, there are still many things we don't know about traditional song - Where did the songs come from? Who sang them, where, when and why? What part did singing play in the lives of the communities in which the songs thrived? More importantly, have the pioneer collectors' restricted definitions and narrow focus hindered or helped our understanding? This is the first book for many years to investigate the wider social history of traditional song in England, and draws on a wide range of sources to answer these questions and many more.
A seminal work by one of the most influential figures of the English folk revival of the 1950s, Folk Song in England (1967) is an expansive account of the development of English traditional song, from the very oldest, ritual verse, through epic balladry, to the development of lyrical song in the industrial era. In a unique and ambitious approach, Lloyd marries the tradition of folk-song scholarship, largely derived from Cecil Sharp, with the radical historiography of E. P. Thompson, and in so doing produces a work of exceptional insight. In particular, his defining of 'industrial folk song' reveals traditional verse as an ebullient, living expression of the working people, perfectly adaptable to reflect their ways and conditions of life.
One of the Spectator's Books of the Year 2012 'Farewell and adieu to you fair Spanish ladies Farewell and adieu to you ladies of Spain For we've received orders for to sail for old England But we hope in a short while to see you again' One of the great English popular art forms, the folk song can be painful, satirical, erotic, dramatic, rueful or funny. They have thrived when sung on a whim to a handful of friends in a pub; they have bewitched generations of English composers who have set them for everything from solo violin to full orchestra; they are sung in concerts, festivals, weddings, funerals and with nobody to hear but the singer. This magical new collection brings together all the classic folk songs as well as many lesser-known discoveries, complete with music and annotations on their original sources and meaning. Published in cooperation with the English Folk Dance and Song Society, it is a worthy successor to Ralph Vaughan Williams and A.L.Lloyd's original Penguin Book of English Folk Songs. 'Her keen eye did glitter like the bright stars by night The robe she was wearing was costly and white Her bare neck was shaded with her long raven hair And they called her pretty Susan, the pride of Kildare' In association with EFDSS, the English Folk Dance and Song Society
Composers and Folk Traditions in England's Musical Renaissance from the Late 19th to the Mid-20th Century
Author: Tim Rayborn
"Copiously documented chapters distill significant amounts of scholarship about the featured composers. Recommended"--Choice The turn of the 20th century was a time of great change in Britain. The empire saw its global influence waning and its traditional social structures challenged. There was a growing weariness of industrialism and a desire to rediscover tradition and the roots of English heritage. A new interest in English folk song and dance inspired art music, which many believed was seeing a renaissance after a period of stagnation since the 18th century. This book focuses on the lives of seven composers--Ralph Vaughan Williams, Gustav Holst, Ernest Moeran, George Butterworth, Philip Heseltine (Peter Warlock), Gerald Finzi and Percy Grainger--whose work was influenced by folk songs and early music. Each chapter provides an historical background and tells the fascinating story of a musical life.
Der Gentleman des Pop: sein Leben – eine Legende. Er ist der letzte Poet der Popkultur, der Womanzier mit der tiefen Stimme, der melancholische Songwriter, der ganze Generationen beeinflusst hat, rastlose Seele und schillernde Persönlichkeit zugleich. Die renommierte Musikjournalistin Sylvie Simmons ist der lebenden Legende auf den Grund gegangen. Für ihre einzigartige Biographie über das Leben von Leonard Cohen hat sie mit mehr als 100 von Cohens Wegbegleitern gesprochen – seinen Musen, Musiker-Kollegen wie Nick Cave, seinen Produzenten, seinen engsten Freunden aus Kindertagen – und nicht zuletzt mit dem öffentlichkeitsscheuen Leonard Cohen selbst. Herausgekommen ist eine umfassende, sorgfältig recherchierte Biographie, die faszinierende Details offenbart und eine neue Perspektive auf das Leben einer der ungewöhnlichsten Lichtgestalten der Musikgeschichte wirft.
Music by Alan Lomax,American Association for the Advancement of Science
Author: Alan Lomax,American Association for the Advancement of Science
Publisher: Transaction Publishers
Song and dance style--viewed as nonverbal communications about culture--are here relatedto social structure and cultural history. Patterns of performance, theme, text and movement areanalyed in large samples of films an recordings from the whole range of human culture, accordingto the methods explained in this volume. Cantometrics, which means song as a measure of man,finds that traditions of singing trace the main historic distributions of human culture and thatspecific traits of performance are communications about identifiable aspects of society. Thepredictable and universal relations between expressive communication and social organiation,here established for the first time, open up the possibility of a scientific aesthetics, usefulto planners. Alan Lomax is Director, Cantometrics andChoreometrics Projects at Columbia University.
Music and lyrics for over 200 songs. John Henry, Goin' Home, Little Brown Jug, Alabama-Bound, Ten Thousand Miles from Home, Shack Bully Holler, Black Betty, The Hammer Song, Bad Man Ballad, Jesse James, Down in the Valley, The Bear in the Hill, Shortenin' Bread, The Ballad of Davy Crockett, and many more.
Originally published in 1969. Until the latter half of the nineteenth century, it was thought that England, alone among the European countries, and unlike Scotland and Ireland where collections of ballads and songs had already been published as early as the eighteenth century, had no important native tradition of music. The founding of the (English) Folk-Song Society in 1898, however, and the pioneering work of such collectors as Lucy Broadwood, the Reverend S. Baring-Gould and, later, Cecil Sharp uncovered a still flourishing folk culture. Since then interest in this subject has grown steadily, and the bibliography of publications of actual folk-songs and ballads is now huge. Frank Howes sets out a general and scholarly introduction, first examining in detail the history and origins of folk music and going on to show the nature and vast amount of the material, enforcing his arguments with a wealth of examples from around the world. His discussion of the differences of national idiom leads on to a comparison of British folk music with that of other European countries and America, in which he pays due attention to the Celtic and Norse traditions. Separate sections on balladry, carols, street cries, broadsides, sea shanties, nursery rhymes and instruments illustrate both the variety of folk music and the extent to which it permeates our national heritage.
Melodies and words for over 200 authentic folk songs and ballads from all parts of the country -- spirituals, hollers, game songs, lullabies, courting songs, work songs, Cajun airs, breakdowns, many more.
Folk Music in the United States gives readers a broad overview of many kinds of folk music found in this country, from the songs of rural Appalachia an d New England through the indigenous music of the American Indians and the African music brought by slaves, to the folk songs of European minorities. It traces the way folk music lives in the modern city, in the academic world, and in the contemporary music of American composers. The book introduces readers to the study of folk music as a kind of music and as an aspect of human culture. It uses music as an index to understanding American culture while it introduces readers to various concepts in the field of ethnomusicology.
Alles beginnt am 31. Dezember 1999 in Birmingham: Benjamin Trotter, leidlich erfolgreicher Buchhalter, steht in der Mitte seines Lebens. Doch eine tiefe Unzufriedenheit und die Gewißheit, das Falsche zu tun, nagen an ihm. Noch immer trauert er Cicely nach, die vor beinahe dreißig Jahren spurlos aus seinem Leben verschwand, und noch immer schreibt er verzweifelt an einem Roman, der inzwischen über tausend Seiten stark ist. Während Benjamin zurückschaut, blickt sein Bruder Paul als Parlamentsabgeordneter ehrgeizig nach vorn. Die Affäre mit seiner Assistentin Miriam zwingt Paul und Benjamin dazu, über ihre Vergangenheit und das persönliche Glück nachzudenken. Beide Brüder müssen sich den Fragen stellen, vor denen sie so lange davongelaufen sind. Vom Autor des Bestsellers "Allein mit Shirley"!
In dieser spannenden Pionierarbeit werden erstmals Schlüsselkonzepte der aktuellen Gender-Politik und Queer Theorie wie Ironie, Parodie, Camp, Maske/Maskerade, Mimesis/Mimikry, Cyborg, Transsexualität und Dildo wissenschaftlich aufbereitet. Mit Hilfe einer neuen Art der Wissensvermittlung verbindet die Autorin anspruchsvolle sozial- und kulturwissenschaftliche Theorien mit praktischen Beispielen aus den Cultural Studies. Der subversive Charakter queerer Motive wird am Beispiel zeitgenössischer Rock- und Popmusik aufgezeigt und in Beziehung zu klassischen Diskursen der abendländischen Philosophiegeschichte gesetzt.